Tag Archives: Joan Alexander

Japoteurs (1942, Seymour Kneitel)

Outside the racism, there’s not much to distinguish Japoteurs. There’s a lot of potential for the finale, when Superman (Bud Collyer) has to stop a crashing airplane–the world’s biggest bomber, which Japanese saboteurs have stolen and intend to take to Tokyo–but it’s not an impressive sequence. It’s somewhat thorough, but not impressive.

The plane itself is kind of impressive. It’s big enough to house fighter jets and is taller than buildings. But the cartoon doesn’t do anything with it–save one of the shots of it on the ground at the end and that shot is too little too late. It’s also competent, just not exciting.

Lois (Joan Alexander) and Clark are on board getting a press tour at the beginning of the cartoon; when they’re supposed to leave, Lois stays. Good for everyone she did because after the saboteurs take over, she’s the one who calls it in, which eventually leads to Superman getting involved.

The animation is okay in spots. Not so much with the Superman versus saboteur fisticuffs, but director Kneitel does have a couple decent shots and the animation works in them. Overall, it’s rather mediocre. The villains are all racist caricatures; well, both. There are three saboteurs but two look identical. That bit isn’t the cartoon’s racism coming through, it’s the animators’ laziness. All the guys on the ground look the same, pretty much like Clark Kent (without the glasses). Or if they look a little different, they look the same as the guy who’s two Clark Kent clones away.

Given the cultural ick value of the cartoon, it’s almost unfortunate it’s so darn blah. If it were godawful, it’d be something. If it were technically outstanding, it’d be something. Instead, it’s low middling. Bill Turner and Carl Meyer’s story has got its time constraints, sure, but they still manage to disappoint.

The whole thing disappoints or fails to impress.

Plus ick.

1/3Not Recommended

CREDITS

Directed by Seymour Kneitel; screenplay by Bill Turner and Carl Meyer, based on characters created by Jerry Siegel and Joe Shuster; animated by Nick Tafuri and Myron Waldman; music by Winston Sharples and Sammy Timberg; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman/Saboteur), Joan Alexander (Lois Lane), and Jack Mercer (Press Tour Guide); narrated by Jackson Beck.


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Terror on the Midway (1942, Dave Fleischer)

Terror on the Midway has some mediocre animation, some bad animation, and some excellent design and direction. It’s also got a gratuitous Superman butt shot, which angles to show his curves in the red tights. It’s a weird shot. Especially since it keeps angling.

The cartoon starts with Clark (Bud Collyer) mocking Lois (Joan Alexander) for being stuck covering the circus. He then ditches her to go back to the paper, which isn’t revealed for a while because Midway’s busy with this adorable circus monkey releasing Gigantic the Gorilla, who causes the resulting Terror.

Now, there are circus attendants who try to tame the gorilla; they fail. They also all look exactly the same, basically like Clark without his glasses. When the cops show up, they too look exactly the same. As the circus attendants. The only variety in the character design is in these three little kids who are in danger. Lois saves one of them, which sets the gorilla on her trail.

After the gorilla has wrecked enough havoc to cause all the circus-goers to flee and loose some of the animals. And maybe kill three of the elephants. Midway could care less about animal cruelty. Some of the later sequences kind of revel in it.

Clark comes back to the circus right after he gets to the paper and somehow hears all the people running away. He still takes a cab because he’s not too worried. When he gets there, he tries to help an attendant hold down a loose elephant but can’t. Because, apparently, he doesn’t have any super-strength when he’s in his civvies.

Eventually he changes into the long-johns, beats up some terrified animals, and saves Lois. It takes him a while to save Lois, however, because he can’t quite best the gorilla. The gorilla’s apparently more powerful than two locomotives.

The animation gets shoddier as the cartoon goes on–though still with some great direction–with a particularly unsatisfactory finale. For a while it seems like the inventiveness (Lois the hero) and the design (the circus is visually stunning) might carry Midway, but no.

1/3Not Recommended

CREDITS

Directed by Dave Fleischer; screenplay by Jay Morton and Dan Gordon, based on characters created by Jerry Siegel and Joe Shuster; animated by Orestes Calpini and James Davis; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman), Joan Alexander (Lois Lane), and Jack Mercer (Barker); narrated by Jackson Beck.


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Electric Earthquake (1942, Dave Fleischer)

Outside the racist–though not exceptionally racist all things considered–characterization of the villain, a Native American engineer who’s going to level Manhattan because it was stolen from his people, Electric Earthquake is pretty much great. Well, it’s outstanding. For what it does, it’s outstanding.

So there’s the opening, where only Clark Kent (Bud Collyer) thinks the Native American guy has a point–while Julian Noa’s Perry White is a piece of crap, apparently–but neither think the guy is actually going to do anything. Only Lois (Joan Alexander) thinks to trail him back to the docks, where he catches her and takes her down to his undersea laboratory.

The cartoon has already introduced the laboratory, complete with the wires going to the various parts of the ocean floor so the engineer can shock an earthquake. And he does. Manhattan falls apart. Cracks in the streets, skyscrapers crumbling, the Daily Planet having a big chunk fall away. And no nonsense regarding Superman–he’s in action right away (well, after the disaster starts).

And he saves the day. With some complications and some troubles.

There are a couple things not animated well, but otherwise it’s all phenomenal work. Good direction from Fleischer. Some of the animation doesn’t quite match, but it’s still good. The rocky parts are in the explosions. They’re lacking in detail and size.

And, story-wise, it’s not like the engineer turns out to be some great villain or even an interesting one. He doesn’t beat up Lois, which is nice, though he does leave her to drown in his getaway. He’s almost sympathetic.

The Superman action, including his various troubles with electric wiring, collapsing buildings, and just having enough breath, is great. The ending is fun too.

The fun might be the best thing about Earthquake. Even though it’s obviously full of catastrophic danger, Fleischer and his animators enjoy the heck out of Superman’s response to it.

Though Lois gets a particularly bad part. She’s present for almost everything and gets no reaction other than silent fear.

2/3Recommended

CREDITS

Directed by Dave Fleischer; screenplay by Seymour Kneitel and Izzy Sparber, based on characters created by Jerry Siegel and Joe Shuster; animated by Steve Muffati and Arnold Gillespie; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman), Joan Alexander (Lois Lane), Julian Noa (Perry White), and Jackson Beck (Lenape scientist); narrated by Beck.


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The Magnetic Telescope (1942, Dave Fleischer)

The Magnetic Telescope is about a power-mad astronomer who builds an observatory with a giant magnet on top so he can attract meteors and comets to the Earth for further study. The device, in attracting meteors, is an obvious public safety issue but the astronomer doesn’t care. He’s willing to let thousands die so he can observe a comet.

The cops try to stop him, but he locks himself in and they have to try to destroy the giant magnet’s supporting machinery. They do, but it then means the astronomer can’t control the comet he’s brought to Earth. So he does a run for it.

Lois (Joan Alexander) is the only reporter covering the story. The cops aren’t very worried about her. She ends up trapped. Luckily, when Clark Kent (Bud Collyer) takes a cab over to save her, a fragment of the comet hits the cab and he decides to save the day as Superman. Though his plan isn’t initially much brighter than hitting the comet, which both times knocks him out.

Magnetic is too visually tepid to be exciting. The animation is rushed and lacks detail, the story is weak. Weak might actually be a compliment. The comet fragments hitting the city sequence is all boring–there’s a definite lack of detail throughout, but when not even the set pieces get any attention, well… then there’s nothing to Magnetic Telescope.

The end “it’s all thanks to Superman” tag would almost be amusing if Clark weren’t such a wet blanket. It’s hard to get excited about a Superman too dense to know he can’t stop a comet–and he appears to fly towards it, not jump–not to mention when Clark takes a cab to help possibly mortally injured Lois.

Magnetic it ain’t. But who knows what better animation would’ve done for it.

1/3Not Recommended

CREDITS

Directed by Dave Fleischer; screenplay by Dan Gordon and Carl Meyer, based on characters created by Jerry Siegel and Joe Shuster; animated by Thomas Moore and Myron Waldman; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman/Mad Astronomer), Joan Alexander (Lois Lane), and Julian Noa (Perry White); narrated by Jackson Beck.


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